The regional theatre is a network of professionals in major cities in the United States. Regional companies see the theatres as individual institutions, instead of being a part of Broadway, with each theatre.
One of the challenges to the state of theatre in the ’40s was unemployment with the actor’s Equity Association stated that only 1,115 of its 6,408 members were employed, and many of those who did only made between $305 and $2,540 a year. An average actor needs an income of about $3500 to support themselves and the many expenses as an actor.
Regional theatres are charity-based and get funding by donations, and the support of local, state or federal governments. As the theatre is publicly funded, it is considered a public service and its survival depends on the public interest. By 1966 there were more actors in regional theatres then there were on broadway.
The American regional theatre as it is known today began with Margo Jones in 1947. She strongly believed that America needed a resident professional in every large city, too. It was to Margo’s knowledge that there were about five thousand theatre groups producing plays in the nation, but their quality was unknown.
She believed that the best way to make sure a standard of the theatre was upheld was to create permanent resident professional theatres. To overcome the challenge of a lack of theatre construction and the associated cost, Jones suggests theatre use theatre-in-the-round performances, removing the need for a proscenium stage.
Jones does not want to do away with proscenium theatre, she sees theatre-in-the-round stages as the most efficient way to quickly establish theatre into American communities.
Margo wirties that a Theatre-in-the-round can be started in any room or large space with enough space for an audience and acting area (94). Jones states that there are many setups that will work and variations as to what the ideal dimensions, seating, equipment and the overall setup of the theatre.
At the time of Jones writing her book, Theatre ’50 was being contructed, and she provides details of the set up for the space. The theatre has a seats 196 and the seats are arragned with three rows of seats on two sides, and four and five rows on the other sides.
Jones belives to help with the intament nature of a theatre-in-theround that the first rows of seats should be on the same level as the stage, and that the intamcy of having the front row on the same level, will spread to a few of the rows behind.
She also thinks a theatre in the round could function with five to six hundred people without loosing the intimacy of the theatre. In additian it is benifical to use regualr theatre seats to maintain a theatre atmosphere.
The size of the playing space and shape is depentent on the room, and should match the shape of the room. Jones states that the playing space may not always be elipitical, a auitorium in Dallas became Trapozid shape to match the keystone shaped room.
Ideally a theater-in-the-round will be cirular shape, but Jones anticipated most theatre-in-the-rounds will adpated from pre existing buildings, and it may not be practicle to have a cirualr shaped stage. The ideal stage size is at least 30 feet in diameter to avoid spill of light into the auidnce.
Proscenium theatres are those kind of stages that have a space that are characterized by a big archway usually at or close to the front of the stage by which the audiences get the opportunity to view the play. Those who are attending the play usually are in a position that they face the stage directly. Where actors and actress use as an acting platform is a bit raised some feet above audience front seats.
Main stage is situated directly behind proscenium arch which do have curtains that can be raised or lowered when appropriate. It is worth noting that there are other terms used to refer to this kind of theater; these are picture-frame and fourth wall. It was introduced in Italy back during the period of renaissance.
This type of stage constitutes the largest percentage of all theaters, 90%. A well known example of this stage is Downey, Music Center. Audiences view the play from only one direction.
Thrust theatre also known as three quarter round and originate from Greek and Elizabethan ancient. This kind of stage usually extends into the audience probably on three sides and connects to the backstage by an upstage end.
One example of a thrust theater is Mark Taper Forum. In this case, those in attendance have the opportunity of viewing the play from different and unique angles and perspectives.
Historically, it is the most widely used in the field of stage acting. At present, most of the arrangement entails a square or rectangular stage and in most cases raised while seats are raked in three distinct parts around the stage.
One major advantage of proscenium theatre is that it gives audiences a more realistic kind of setting, seeing the action from one direction or a frame usually grabs the attention of those in attendance. This coupled with a raked kind of seating arrangement makes it possible for all audiences to clearly see what is transpiring in the stage.
The presence of curtains helps in concealing the stage in instances where there is a need to carry out some changes as well as intermission. Additionally, the presence of curtain makes it possible to reveal the stage only when it is necessary bringing with it an act of attracting attention.
It is worth noting that despite the passage of time, it still constitute close to 90% of current stages in the world and is used from schools to other places.
On the other hand, it is always a fact that however an aspect can portray positive attributes; there are chances of bad aspects that can be realized. In this case, proscenium stage lacks the ability to create a romantic or intimate association with the audiences.
Due to this, it is evident that it instigated the development of other kind of stages especially those that create an environments that those in attendance can get the opportunity to view the action from more than one direction.
Despite the fact that it is argued that the stage being a bit raised from the front audience eat is of advantage, those individuals who seat at front level get a rough time while concentrating.
This is because they have to look upward for them to be in a position to properly see the actors. This has been found to have profound effects on their neck as well as the perspective hindering their rate of concentration.
On the other hand, Thrust theatre has more advantages over proscenium.
The pros include; a wider area for audience as well as the actors and actress, there is capability of creating intimacy to audience, audience can see the action from three different perspectives or sides, arrangement of the raked seat make it possible for every individual in attendance to clearly see the actions.
The major disadvantage of this kind of stage is there are instances of some individuals not seeing what is happening ion the stage due to the arrangement of the seats.
